The so-called Greek flute was a very reedy oboe or clarinet, a pipe played with a reed, the pitch determined by holes stopped by the fingers. These instruments were so hard to blow that the players wore bands over their cheeks because there were cases on record where, in the contests, they broke their cheeks by the wind pressure. The flute or aulos does not seem to have been used in connection with the cithara at all, and the Greeks had nothing corresponding to what we call an orchestra. The aulos was appropriate to certain religious services and to certain festivals, and it had a moderate status in the various contests of the national games, but the great instrument of Greek music, the universal dependence for all occasions, public and private, was the lyre. In spite of the meager resources of Greek music upon its tonal side, this development of art has had a very important bearing upon the progress of music, even down to our own times. Opera was re-discovered about 1600 in the effort to re-create the Greek musical drama, and the ideal proposed to himself by Richard Wagner was nothing else than that of a new music drama in which the severe and lofty conceptions of the old Greek poets should be embodied in musical forms the most advanced that the modern mind has been able to conceive. Upon the aesthetic side musical theory is entirely indebted to the Greek. Nothing more suitable or appropriate can be said concerning musical taste and cultivation than what was said by Aristotle 300 years before Christ. For example, he has the following (Politics, viii, C. Jowett's translation, p. 245): "The customary branches of education are in number four. They are: (1) reading and writing, (2) gymnastic exercises, (3) music, to which is somewhat added (4) drawing. Of these, reading, writing and drawing are regarded as useful to the purposes of life in a variety of ways." He recommends the study of music as part of the preparation of the fit occupation of leisure. "There remains, then, the use of music for the intellectual enjoyment of leisure; which appears to have been the reason of its introduction, this being one of the ways in which it is thought that a freeman should pass his leisure; as Homer says: 'How good it is to invite men to the pleasant feast,' and afterward he speaks of others whom he describes as inviting 'The bard who would delight them all' (Od. xvii, 385); and in another place he says that there is no better way of passing life than when 'Men's hearts are merry, and the banqueters in the hall Sitting in order hear the voice of the minstrel.'"